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Popular Entertainment

This Museum's popular entertainment collections hold some of the Smithsonian's most beloved artifacts. The ruby slippers worn by Judy Garland in The Wizard of Oz reside here, along with the Muppet character Kermit the Frog, and props from popular television series such as M*A*S*H and All in the Family. But as in many of the Museum's collections, the best-known objects are a small part of the story.

The collection also encompasses many other artifacts of 19th- and 20th-century commercial theater, film, radio, and TV—some 50,000 sound recordings dating back to 1903; posters, publicity stills, and programs from films and performances; puppets; numerous items from World's Fairs from 1851 to 1992; and audiovisual materials on Groucho Marx, to name only a few.

Over the course of her sixty-year career, Ella Fitzgerald (1917–1996) became known to fans and colleagues as "The First Lady of Song." Her rise to international fame as a jazz and popular singer coincided with the rise of an American entertainment industry that brought music to millions through concerts, sound recordings, film, radio, and television. In 1938, Fitzgerald came up with the idea for a song called "A-Tisket, A-Tasket," basing her lyric on a 19th–century nursery rhyme. Her 1938 Decca recording of the song over time became a million–seller.

“Someday I’ll wish upon a star/And wake up where the clouds are far/Behind me./Where troubles melt like lemon drops/Away above the chimney tops/That’s where you’ll find me.” E.Y.”Yip”Harbug’s hopeful lyrics made “Over the Rainbow” from the film The Wizard of Oz an instant favorite with 1939 audiences. The song, composed by Harold Arlen, quickly became a national standard and the signature ballad of the film’s star, Judy Garland (1922–1969).

Ned Washington and Leigh Harline wrote the optimistic “When You Wish Upon A Star” for the animated film “Pinocchio.” The Academy Award winning song would go on to become the signature theme of the Walt Disney Company. This sheet music was published in 1939, a year prior to the film’s opening.

The Oscar-winning song, “On the Atchison, Topeka, and the Santa Fe” was written by composer Harry Warren and lyricist Johnny Mercer for the 1946 motion picture, The Harvey Girls. In the film, the song is an important element in a nine-minute sequence which charts the growing excitement in the Arizona community of Deadrock as the Atchison, Topeka, and Santa Fe train arrives. Among the passengers aboard the train are young women who have come to the Southwest to be waitresses, or “Harvey Girls,” in a Harvey House restaurant. The song became a staple in the repertoire of Judy Garland, the film’s star. Garland’s photograph is central to the design on the sheet music cover. The illustrations of dance hall girls and Harvey House waitresses that flank the photo convey graphically the central plot conflict in the movie.

This sheet music contains the music and lyrics for “Ol’ Man River,” a song from the 1927 Broadway musical Show Boat, one of the masterpieces of American theater. Sheet music was a popular means of dispersing songs throughout the 19th and early 20th centuries, before the widespread availability of phonographs and radio shifted the music industry’s focus to recorded songs. With sheet music such as this, people would typically gather around a piano and sing, bringing the stories and sounds of the theater into parlors across the country.

Show Boat is regarded as the first American musical to depart from the genre’s traditional light comedy by featuring serious dramatic complexities, notably race relations among people along the Mississippi River. Show Boat was adapted by Oscar Hammerstein II and Jerome Kern from the 1926 novel by Pulitzer Prize-winning author Edna Ferber. Both the book and the musical mix humor with nostalgia as they recall the disappearing culture of the show boat. A novelty form of performance in the 1800s, a show boat was a floating theater that featured melodramas, musical acts, dancing, and vaudeville as it traveled along American waterways such as the Mississippi, Cumberland, and Ohio Rivers. The popularity of showboats declined in the 20th century as the country moved from the rivers to the roads and motion pictures replaced the stage as the main form of entertainment. The musical Show Boat recalls this era, as it follows the Cotton Blossom and the people the boat affects while traveling up and down the Mississippi.

Although the main focus of the musical is on the cast and crew of the Cotton Blossom, the most interesting and memorable character is Joe, the black dock worker who tells the story of hardships suffered by African Americans through the song “Ol’ Man River.” Juxtaposed against the white merrymakers on board—Show Boat was the first integrated musical, featuring actors of both races on stage and in the chorus— Joe totes bales of cotton and sings about his struggles. The lyrics “Ah gets weary an’ sick of tryin’, Ahm tired of livin’ an’ skeered of dyin’,” reflect the somber, yet resigned tone of the song. Just as with the problems of all the characters, the relentless Mississippi pays no heed, for the river just keeps rolling along.

The African American characters in Show Boat have been viewed by some as offensive caricatures that portray black people as servants. Animosity toward the play has been demonstrated in various ways. For instance, Paul Robeson, the famous singer for whom the part of Joe was originally written, altered the lyrics in his own recordings of “Ol’ Man River,” removing certain words and the stereotypical dialect. Protests are frequently staged against revivals of the musical, although some performing arts critics and historians point to the treatment of a mixed-race marriage in the play, Hammerstein’s own desire for tolerance, and the fact that portrayal of racist stereotypes in modern American theater employed is usually not to condone racism, but to satirize and condemn the mindsets that perpetuate it.